scholarly journals The Use of Audio Interpretive Materials in the Development of Tuneful Ear

Author(s):  
Ilma Grauzdiņa

The report is devoted to the one of the contemporary ways in the development of tuneful ear related to intensive use of varied audio interpretive materials during musical classes. Sound of “Live music” imparts new sense to such conventional forms of ear training as rhythm dictation, musical dictation, harmonic analysis. It makes possible to train timbral ear, to improve attention, reaction speed, memory as well as noticeably widens musical horizon of pupils. This method has been widely used in France since the end of the 20th century therefore the article looks closely into one of the French encased set. Analysis of French edition proves that this experience should be popularized amidst Latvian music teachers too and analogical edition can be created on the basis of Latvian music.

2018 ◽  
Vol 28 (7) ◽  
pp. 2361-2365
Author(s):  
Almedina Čengić

The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.


Proceedings ◽  
2020 ◽  
Vol 47 (1) ◽  
pp. 55
Author(s):  
Shan Zhang

By applying the concept of natural science to the study of music, on the one hand, we can understand the structure of music macroscopically, on the other, we can reflect on the history of music to a certain extent. Throughout the history of western music, from the classical period to the 20th century, music seems to have gone from order to disorder, but it is still orderly if analyzed carefully. Using the concept of complex information systems can give a good answer in the essence.


Author(s):  
Spyros Armostis ◽  
Louiza Voniati ◽  
Konstantinos Drosos ◽  
Dionysios Tafiadis

The variety described here is Pontic Greek (ISO 639 name: pnt), and specifically the variety that originates from Trapezounta in Asia Minor (present-day Trabzon in Turkey) as spoken today in Etoloakarnania, Greece by second-generation refugees. The term ‘Pontic Greek’ (in Greek: ) was originally an etic term, while Pontians called their language by other names, mainly [ɾoˈmeika] ‘Romeika’ (Sitaridou 2016) but also [laziˈka] ‘Laz language’ (Drettas 1997: 19, 620), even though Pontians and Laz people do not share the same language, the latter being Caucasian. Nowadays, is the standard term used not only by researchers, but also by native speakers of Pontic Greek born in Greece to refer to their variety (but see Sitaridou 2013 for Romeyka in the Black Sea). Pontic Greek belongs to the Asia Minor Greek group along with other varieties, such as Cappadocian Greek (e.g. Horrocks 2010: 398–404; Sitaridou 2014: 31). According to Sitaridou (2014, 2016), on the basis of historical reconstruction, the Pontic branch of Asia Minor Greek is claimed to have been divided into two major dialectal groups: Pontic Greek as spoken by Christians until the 20th century in Turkey and Romeyka as spoken by Muslims to date in Turkey. Triantafyllidis (1938/1981: 288) divides Pontic varieties, as were spoken in Asia Minor, into three dialectal groups, namely Oinountian, Chaldiot, and Trapezountian, the latter consisting of the varieties that were spoken at Trapezounta, Kerasounta, Rizounta, Sourmena, Ofis, Livera, Tripolis, and Matsouka in Asia Minor (Trabzon, Giresun, Sürmene, Of, Yazlık, Tirebolu, and Maçka respectively in present-day Turkey). However, Triantafyllidis does not explain his criteria for this classification (Chatzissavidis 2012). According to one other classification (Papadopoulos 1955: 17–18; Papadopoulos 1958: $\upzeta$ ), the variety that was used in Trapezounta belongs to the dialectal group in which post-stressed /i/ and /u/ delete along other varieties, such as e.g. the ones that were spoken in Chaldia (present-day Gümüşhane), Sourmena, and Ofis (as opposed to the rest of Pontic varieties, such as the one of Kerasounta, in which those vowels are retained). Trapezountian Pontic Greek can also be classified with the group of varieties that retain word-final /n/, such as the varieties of Kerasounta and Chaldia, as opposed to the varieties that do not retain it, such as the ones of Oinoe (present-day Ünye) and (partially) Ofis (Papadopoulos 1958: θ).


2021 ◽  
Vol 13 (5) ◽  
pp. 2911
Author(s):  
Jesús Manuel De Sancha-Navarro ◽  
Juan Lara-Rubio ◽  
María Dolores Oliver-Alfonso ◽  
Luis Palma-Martos

University students consume live music; however, almost 40% declare that they have never attended a flamenco show, an intangible heritage of humankind. Numerous studies have shown that cultural capital and socioeconomic profile, among other factors, are variables that influence cultural consumption, and therefore, cultural sustainability. Considering the relationship between several variables, this paper pursues a double objective. On the one hand, identifying the factors that influence attendance at flamenco shows, and on the other, proposing a predictive model that quantifies the likelihood of an individual attending a flamenco show. To this end, we analyse flamenco consumption by means of a survey conducted on 452 university students, using Multilayer Perceptrom (a non-parametric model), a methodology based on an artificial neural network. Our results confirm the importance of cultural capital, as well as personal and external factors, among other. The findings of this research work are of potential interest for management and planning of cultural events, as well as to promote cultural sustainability.


1998 ◽  
Vol 16 (4) ◽  
pp. 387-400 ◽  
Author(s):  
Felicity J Callard

Geographers are now taking the problematic of corporeality seriously. ‘The body’ is becoming a preoccupation in the geographical literature, and is a central figure around which to base political demands, social analyses, and theoretical investigations. In this paper I describe some of the trajectories through which the body has been installed in academia and claim that this installation has necessitated the uptake of certain theoretical legacies and the disavowal or forgetting of others. In particular, I trace two related developments. First, I point to the sometimes haphazard agglomeration of disparate theoretical interventions that lie under the name of postmodernism and observe how this has led to the foregrounding of bodily tropes of fragmentation, fluidity, and ‘the cyborg‘. Second, I examine the treatment of the body as a conduit which enables political agency to be thought of in terms of transgression and resistance. I stage my argument by looking at how on the one hand Marxist and on the other queer theory have commonly conceived of the body, and propose that the legacies of materialist modes of analysis have much to offer current work focusing on how bodies are shaped by their encapsulation within the sphere of the social. I conclude by examining the presentation of corporeality that appears in the first volume of Marx's Capital. I do so to suggest that geographers working on questions of subjectivity could profit from thinking further about the relation between so-called ‘new’ and ‘fluid’ configurations of bodies, technologies, and subjectivities in the late 20th-century world, and the corporeal configurations of industrial capitalism lying behind and before them.


Author(s):  
Alexander V. Koltsov ◽  

The paper is an attempt to narrow down the notion of spiritual crisis which is now widely applied in research on history of culture of the 19th–20th centuries, with respect to history of German philosophy and observation of modern reli­giosity. The shift from the history of philosophy to the religious context is ful­filled through analysis of texts of two religious thinkers, A. Reinach and S. Frank, whose thought clearly demonstrates strong interconnection between the both fields. Analysis of contemporary studies on history of phenomenological philos­ophy (C. Möckel and W. Gleixner) lets firstly observe ways of application of Koselleck’s notion of crisis to investigations in the history of philosophy. Sec­ondly it discovers two possibilities of philosophical contextualization of the con­cept of spiritual crisis – on the one hand, as a constituent rhetorical element of the philosophical statement (Möckel), on the other hand, as a term which de­scribes the uniqueness of an intellectual situation of the beginning of the 20thcentury (Gleixner). Then these aspects of the rhetoric of crisis are applied to reli­gious philosophy of Reinach and Frank, what leads to interpretation of their works as a particular statement discovering the divine (or the holy) as a new cat­egory of religious consciousness.


2017 ◽  
Vol 1 (1) ◽  
Author(s):  
Arianna Novaga

The Belgian theatre-dance company Ultima Vez – founded by the director and choreographer Wim Vandekeybus – presented Booty Looting in 2012, at the Venice Biennale Danza. On the stage, a complex and apparently disordered narrative rhapsody, brings into play complementary diegetic coefficients: while a story straddles the real and the imaginary, the dancers become consumed actors, the actors dance and live music fills the empty spaces. But the real beating heart of the show is the photographer, who is entrusted with the delicate task of deciphering the feverish dynamism of the scene to move the public's attention elsewhere, as if to give them a relaxing break from the chaos. The photographic image, taken and reported in real time on the screen at the bottom of the stage, freezes some salient moments of that convulsive movement, almost to break it down anatomically into parts of a 'muybridgian' conception. The photographer, always active during the representation, is an integral part of the story, becoming a performer himself so that his intervention determines the dramaturgical development of the plot. The visual quality of the scene is strongly enhanced by live photographic images, which are often attributable to known visual models. Booty looting literally means stealing what has already been the object of theft, exactly as it happens in the art world, according to the perspective of Vandekeybus. Photography is seen here as an instrument that on the one hand makes it useful to prove the reality of facts, but at the same time declares its ability to lie, to deform memory, to create false memories, to become misleading echoes of experiences actually lived. Between truth and deceit, the photographic image plunders the world and gives us the feeling of being able to know and know it in depth - as Susan Sontag teaches - but it is only a distorted memory that confuses and falsifies the real.


2019 ◽  
Author(s):  
Hanna Gekle

The history of mental development on the one and the history of his writings on the other hand form the two separate but essentially intertwined strands of an archeology of Ernst Bloch´s thought undertaken in this book. Bloch as a philosopher is peculiar in that his initial access to thought rose from the depths of early, painful experience. To give expression to this experience, he not only needed to develop new categories, but first and foremost had to find words for it: the experience of the uncanny and the abysmal, of which he tells in Spuren, is on the level of philosophical theory juxtaposed by the “Dunkel des gerade gelebten Augenblicks” (darkness of the moment just lived) and his discovery of a “Noch-nicht-Bewusstes” (not-yet-conscious), thus metaphysically undermining the classical Oedipus complex in the succession of Freud. In this book, psyche, work and the history of the 20th century appear concentrated in Ernst Bloch the philosopher and contemporary witness, who paid tribute to these supra-individual powers in his work as much as he hoped to transgress them.


2020 ◽  
pp. 84-85
Author(s):  
Philippe Dufieux

At a time when Lyon celebrates the one hundred and fifty years of the birth of one of the most famous architects of the beginning of the 20th century, Tony Garnier (1869-1948), the observation of the conservation of the works of the designer of the Cité industrielle (1917) is very disturbing. Garnier’s heritage remains extremely fragile and the protection measures are insufficient. Several complexes and buildings have been destroyed and disfigured, for example the Abattoirs de la Mouche in Gerland (Lyon, 1909-1914) that were demolished in 1974. The large hall of the market has been preserved and transformed into a performance hall. Although the Édouard-Herriot hospital (1913-1933) has benefited from the protection of the perimeter of its chapel since 1967, its monumental fireplaces were demolished in 2001 for security reasons and, more recently, the Pavilion H has been destroyed in 2015 with indifference for the construction of a new 18,000 m2 building, designed according to François Chatillon’s (1961-) plans and delivered in 2017.


2021 ◽  
Vol 73 (1) ◽  
pp. 17-30
Author(s):  
Vasiliki Papadopoulou

Instructive editions from the late 19th and early 20th century include various annotations regarding musical and interpretative aspects, such as articulation, bowings, fingerings, dynamics, note values, or vibrato As a popular medium at the time, instructive editions were often in the centre of contemporary discussions and attracted the attention of musicians and music teachers, bequeathing us a wide corpus of valuable sources. Joseph Joachim was arguably the most prominent violinist and a sought-after pedagogue in the German-speaking world at the time. Hitherto unknown letters as well as revisited statements by Joachim lead to new insights regarding his attitude towards instructive editions: he viewed them - despite his (few) publications in this genre - very critically, as he was convinced that detailed instructions would limit the freedom of the performer. He instead preferred editions without annotations, but interpreted the music freely andd variably in what he considered the spirit of the composer. Joachim's attitude thus poses general questions as to the role and freedom of performance and interpretation in the second half of the nineteenth century.


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